Too traditional for its own good, it needs to mix things up on a grand scale.

Corden isn’t as facile as Fallon, but he also isn’t as fawning. Instead of bringing guests out one at a time, he bunched them (a good move) but didn’t have enough experience to pull both into all conversations.

It’s watchable but it’s not unforgettable and, oddly, it could be.

[Biderman’s writing and Schreiber’s acting are] a one-two punch that haven’t scored a knockout in the first round, but there’s still time.

It’s cute. But “Monsters at Work” might need a little more retooling on the scripts. They’re a laugh-a-10 minutes.

Mara and Robinson are good leads – you can see him wilt as the years go by – but they also don’t provide enough of the why.

Directed by Steve Shill, Dracula intrigues but it may not have staying power. It doesn’t look as elegant as it should; it isn’t necessarily cast with an eye toward immortality.

“Million Dollar Beach House,” an airy addition to the summer schedule, doesn’t really have the drama of “Million Dollar Listings” or “Selling Sunset,” but there is enough here to savor. ... Had the producers shown us more of the Hamptons in the process, “MDBH” might have set itself apart from other, similar shows.

Pre-pandemic, this might have been a juicy potboiler. Now, it’s just a slap away from being dated. ... Unlike the 1994 one, there’s not enough of the snide humor that made it so deliciously evil. Kruger gives it a Sharon Stone vibe, but she isn’t given enough lines that would make her seem smarter than others in the room.

While the first episodes are fun to watch – particularly with all of the devices the production designers have created – it’s never clear where it’s headed. ... “Hello Tomorrow” takes a while to show its hand and, then, it’s likely bluffing. With Crudup at the helm, this could go anywhere.

Eager to please, Colbert did a few comic bits at the outset (two product placement pieces fell flat) and got plenty of mileage out of Donald Trump. But his best moments were planned ones.... Too often, though, Colbert seemed like a dad trying to be hip with his kids’ friends.

[Director] Cassar juggles plenty of balls in that first hour, uses some new techniques at his disposal and gives Rajskub her best scenes yet. But there’s something very retro about the formula--something that doesn’t quite seem ready for revival.

It’s a noble drama, but it’s not all that original. Smits’ accent is a eye-opener.

It’s the kind of premise Andy Griffith might have considered years ago, but it’s not quite in tune with NBC’s other comedies.

The drama that surrounds them is fairly familiar and hardly religion-specific. Greenleaf World Ministries needs more of the details that would make this more than just another soap opera.

While the series finds its own rhythm, it’s not the one you’re expecting. It’s a lesson – but from a class you didn’t consider taking.

Showing how [Houdini] got the bug, learned his craft and went from sideshow oddity to world-wide celebrity, the film holds interest and makes you want to know more. Then, it pulls back the curtain and shows the locks, keys and stunts he uses to open all those seemingly inescapable devices. It’s a bit like knowing a gift before you unwrap it.

There’s a germ of something here. It’s never quite clear what it could be.

Williams, who’s a great actor, should be used more, offering up reactions we haven’t seen. He's a keeper. At times, "Wonder Years 2.0" is, too.

The attempt to make this a story about two men grates. It’s as if someone wanted to elevate Oswald in order to humanize Kennedy. It doesn’t work--nor does the Oswald funeral scene.

The sets and costumes are great. Now, the mysteries need to rise to the occasion.

By the time You, Me and the Apocalypse” starts making sense, you’ve either abandoned it or forgotten to watch it.

When the second bananas nudge the top ones, The Comedians has laughs. When it leaves the two to play out a tired game of “The Sunshine Boys,” they vanish.

Switching back and forth in time, “Impeachment” doesn’t light often enough to give us anything really substantial. ... Paulson and Feldstein are spectacular when they’re together. But when this splits them apart, it loses its intention.

[Johnny Carson is] such a presence, it’s hard to concentrate on what happens to those in his employ. Had Reiser and Green made him less vital to the story (even to the point of eliminating the clips), “There’s Johnny” might be a better look at those who worked so hard to win his favor. Now it’s just another journey down “42nd Street” and all the potholes it has to offer.

How this will ultimately play out depends on “The Swarm’s” ability to embrace a disaster film vibe. So far, it’s a lot of seeking, but little to destroy.

An uneven peek at the men and women who make headliners look good night after night after night.

The fish-out-of-water aspect intrigues but it also frustrates.